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Pissarro and the Political Colour of an Original Vision Paul Smith

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Pissarro and the Political Colour of an Original Vision Paul Smith 'PARBLEU' : PISSARRO AND THE POLITICAL COLOUR OF AN ORIGINAL VISION PAUL SMITH PISSARRO AND IMPRESSIONIST VISION To judge from their own accounts, and from their later work, both Monet and Cezanne eventually succeeded in seeing their motifs only as blocks of colour or coloured 'taches', as if they were free from knowledge of what they looked at, like men who had just gained their sight.' As Charles Stuckey points out, it was Ruskin's injunction to see with an 'innocence of the eye . as a blind man would see . as if suddenly gifted with sight' that guided Monet to see 'flat stains of colour' and 'patches of colour'; and he also suggests that Taine's ideas on the retina1 data of pre-conceptual visual experience might have been equally influential on the Impressionists at large.' From Richard Shiffs work, it is clear that this characteristically Impressionist vision was motivated by a search for na'ive ' impressions',' and for personal 'sensations' supposedly corresponding to a 'double origin' where nature and the self met.? By these accounts, therefore, Impressionist vision was meant to result from an intentionality free of interest in a reified world, and instead to be expressive of a more primal and 'original' experience of reality. Putting aside the vexed question of whether seeing in this way is actually possible for a normal adult, the Impressionists' search for sensations untouched by culture or language remains at least doubly paradoxical. In the first place, their frequent statements on the matter suggest the Impressionists adhered almost religiously to the principle that sensations were the basis of a way of painting free from rules. Moreover, while sensations were meant to be pre-conceptual experiences, it is plain that both Monet and Ctzanne had quite specific concepts about them and the vision corresponding to them, and that these concepts were themselves contingent upon particular nineteenth-century beliefs such as Positivism and indi~idualism.~ Moreover, to follow Meyer Schapiro, the list of contingencies determining Impressionist perception would also include their desire to find an alternative to the perception characteristic of a society in the thrall of the 'advance of monopoly capitalism' .' In effect, then, and despite the rhetoric of their own statements, it is precisely because the Impressionists' vision was contingent upon the rationality of a particular Art History Vol. 15 No. 2 June 1992 ISSN 0141-6790 PISSARKO AND 7'Hk POI,I'I'IC41, COLOUR OF AT\; OKIC;INAId VISION culture, and subject to historically specific causes, that it was meaningful. In other words, it was a function of the way in which it was infiitrated by and expressive of its various social determinations, both consciously and unconsciously, that the way of seeing recorded in an Impressionist painting had specific moral and political meanings. Like his more illustrious colleagues, Pissarro asserted that he too saw in 'taches', and painted his own 'impressions' and 'sensations'.~owever,Pissarro was more reasonable and explicit about the factors affecting his perception, and less given to romantic claims about it, than his fellows. Indeed, by the 1880s, this artist - whom Renoir recalled as the 'theoricicn' of Impressionist research' - made many staternents to the effect that hc intended the scientific knowledge and political bcliefs bound up with his vision to be recognizable as such in his paintings. These connections, and the meaning they gave to Pissarro's vision, are the sub.ject of the majority of what follows. The remainder is concerned with Pissarro's unusual sensitivity to blue, what some called his 'daltonisme', and the emergence of this aspect of his vision into public sense. In particular, I wish to explain how it was that Pissarro's preference for blue was far from devoid of meaning, even though the painter himself failed to explain this preference, or even recognize it. The solution I will suggest to this conundrum is that this aspect of his vision was irreducible to existing concepts and rules of seeing, and that it was this that guarantced its potential to carry an original sense beyond the semantics of the language available to him. PISSARRO'S PERCEPTION AND SCIENCE On a few occasions, Pissarro seemed no less naive than his colleagues about perception. For example, in a letter to Lucien of September 1892, he advised his son to concentrate on rendering 'sensations libres de toute autrc chose que ta propre sensation'.' But it is difficult to believe this statement was intended as literal advice, because the majority of Pissarro's staternents show quite unequivocally that his vision was inf'ormed by scientific concepts, and that he knew this. For cxample, in a letter to Durand-Rue1 of November 1886, he mentioned his familiarity with the work of Chevreul and Ogclen Rood on colour (probably Chevreul's De la loi du contraste simulta~lddes couleurs of 1839 and Rood's The'urie scient@que des couleurs of 1881)." And in a letter of February 1887 to Lucien, he affirmed his debt to science in a letter concerning a difference of opinion with a patron about its importance to the painter. Indignantly, he wrote: de Bellio . me dit qu'il ne croit pas que les recherches physiques sur la couleur et la lumicre puissent servir 2 l'artiste, pas plus que l'anatomie ou les lois de l'optique . ; parbleu; si je ne savais pas comment les couleurs se comportent depuis les dkcouvertes de Chevreul et autres savants, nous ne pourrions poursuivre nos etudes sur la lumi?re avcc autant d'assurance. Je ne ferais pas une difference entre la couleur locale et la lumi?re, si la science ne nous wait mis en 6veil. Et les compl6mentaires et les contrastes, etc."' PJSSAKKO ANT) THE I'OLITICAL (:OLOUK OF .\N CIKIGINAI. VISION Pissarro's paintings of the late 1870s and early 1880s do show hc recorded perceptions of colour which owe a debt to the work of' Rood and Chevreul, just as he described. In works likc La C6te des boeufs, Pontoise of 1877 (plate 43) and Jeune Puysanne au chapeau of 1881 (plate 44), Pissarro separately recorded the local colour of objects and the modifications imposed on it by the various components of the light - illumination, shadow and reflections" - and hc also registered perceptions of contrast effects in his insistent use of pairs of complementaric~.'~ Ftndon's criticism of 1886 and 1887 describes the presence of precisely these perceived effects in Seurat's paintings,l%ut only because Pissarro supplied him with an analysis of the components of Neo-Impressionist colour (as is recorded in three letters of September 188614 and two letters of April and summer 1887)." The fact that FCnCon's Les Zmpressionnistes en 1886 more-or-less accurately represents Pissarro's ideas (and not Seurat's as is often supposccl)'~sfurther revealed by the letter of November 1886 to Durancl-Ruel," in which Pissarro told his dealer to read Ftnton's pamphlet for an amplification of his own scientific theories." Science did not just enable Pissarro's perception of colours in nature, it also affccted his way of rendering what he saw. Put simply, Pissarro's manner of composing a surf'ace was scientific because it was designed to take account of' how effects like simultaneous contrast and optical mixture could affect the way colours looked. Following Chevreul, paintings such as La Cite des boeufs (plate 43) do not map the colours Pissarro saw directly onto the canvas, but instead modulate patches of colour on the surface so as to take account of how their hues and tones (and position in depth and apparent size) are affected by adjacent colours, and also by more distant colours.'" Following Rood, other paintings, such as Jeune Paysanne au chapeau (plate 44), use small touches of (spectral) colour which form resultants at a distance due to the effect of optical mixture."' In practice, both effects come into play in deciding the look of a surface, and it is somewhat schematic to separate them out," even if Pissarro tended to adopt an explanation based on the notion of optical mixture in the later 1880s.'~ SCIENCE AND ANARCHISM IN PISSARRO'S VISION Science plainly gave Pissarro his concepts of what colour was, and his models of how it behaved, but this does not explain zrihy Pissarro read science to help him see, or what he hoped to achieve by using it to hone his colour perception. Even a cursory look at the history of different cultures' colour terms shows that people normally invent or adopt particular colour concepts because they can be usrd - either to help them make useful discriminations between differently coloured things or effects in daily life, or to discriminate colours precisely for purposes of communication." Put crudely: seeing in a particular way, or 'seeing-as', is normally meaningful because it makes sense within a specific social practice.'4 In an activity like painting, seeing can be imaginative, but it gains meaning because it makes sense within the form of life imagined in the painting. Such a picture of perception makes it imperative to discover just what Pissarro thought science allowed him to imagine (or ultimately, achieve) in enabling him to see as he did." On its own though, this is a misleading question, because it PIXSAKKO AND THE POI.ITICAL COLOUR OF AN OKIGINAI. \ ISION is incomplete. Even were we to provide an answer to it, this would still not explain why Pissarro painted what science helped him see.2hHowever, one explanation of why Pissarro both saw as he did and painted what he saw, is that, for him, to do so was to refute the way of seeing encoded in dominant conventions of painting at the time.
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